First Shot Show Brings New Work To Light

Thu, 07/23/2015

Art Scene

By

Leon Graham

Photo: Marsden Epworth

Jordan Hutton is a charming young man with a degree in art history from Roanoke College. For several years he has been a gallery assistant — “our favorite,” says owner Tino Galluzzo — at The White Gallery in Lakeville, CT. Working mostly in summers and during school breaks, Hutton learned how a gallery operates, how to deal with artists. But mostly he formed his own opinions of the art he likes. Now Galluzzo and his wife and co-owner, Susan, have given Hutton an opportunity to curate his own show, First Shot, an emerging artist invitational.

Unlike those black-clad, self-absorbed gallery assistants in many New York City galleries, the ones who rarely look up from their cell phones or laptops to greet you when you enter, Hutton is outgoing, optimistic, often dressed in vibrant colors, always wanting to share his joy in art itself. For his show, he visited area colleges with respected art departments, looked at work from dozens of students, then chose the pieces that “spoke” to him, work “I really liked.” So he passed over academic assignment art and selected work that came from the artists’ imagination and need to create.

Laura Viola Preciado from the University of Hartford combines techniques — gesture, paint-on-paint — in a picture of chaos relieved by calm. Blues, grays and calming white are punctuated with vibrant red near the top and a strange circle of red near the center that focuses your eye. (Preciado, who is in her early 50s, is a trained nurse who plans to now work toward a master’s degree.)

Mary Huber recently received her B.A. from Vassar College. Hutton chose her big picture that combines paint and hot wax, an ancient and difficult technique. Colors, deep reds and blues, white and flat golden yellow, seem to seethe and flow under a semi-opaque, uneven coating of wax that is broken here and there.

Two other cosmic pictures are by Lauren Emory of Marist College. Her work is made of thousands of circles of all sizes and colors that seem to float like bubbles. As you look, bands of color differentiation move diagonally down. Another Marist graduate, Erin Kerbert, shows a large group of papier-mâché pieces hung in a grouping of abstract shapes painted in soothing sky and sea blues, pale cream and deep green with small splotches of orangey red. They almost seem to be made from colorful, satellite images of the earth. Kali Vozeh, also from Marist, shows a bold picture of deep blue, overpainted with a few horizontal and vertical stripes. On top are three strident black forms that might be prehistoric animals.

Marist student Christina Tinti created a group of small monotypes that are refined, monochromatic, yet complex and professional. Her use of linoleum block, a technique you seldom encounter anymore, is remarkable. Hutton’s affinity for deep color is seen in Marist graduate Marisa Gilbert’s purple sculpture made from straight pieces of various lengths roughly joined together to make a straight-edged sort of pyramidal jungle jim.

Rebecca Gluck, another recent Vassar graduate, is interested in sensuality and body imagery. Her provocative white wall sculpture, made of emphatic, vertical forms in deep relief, clearly refers to male anatomy. Her deep, golden yellow and orange floor work, hints at a female form under a camouflage cover. It is arresting and puzzling.

First Shot continues at The White Gallery, 342 Main Street in Lakeville, CT, through Aug. 9. The gallery is open Thursday to Sunday. For information, call 860-435-1029 or go tothewhitegalleryart.com.

First review for "For The Love of making Art: The Work of Robert Baras"

Lee Graham of the Lakeville Journal wrote an excellent and insightful review for Robert Baras' work at The White Gallery

read about it below and be sure to see the show for yourself!

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News from 2013

The White Gallery had a wonderful summer exhibit with Fran Gormley's first solo show, "Palette Earth".

featured his landscapes as well. Many people who knew David's landscape work, or collected his paintings, were initially uncertain of what he could create when his subject was pavement rather than field, skyscrapers rather than hills and the ever present cacophony of noise rather than the quiet melody of this amazing place where we live.

Uncertainty was dismissed as soon as they saw the pieces on our walls...David captured the essence of the city street in his own imitable style with splashes of color and movement, movement, movement.

Now. four years later, he revisits the city streets and creates a canvas that we call "David Dunlop's Return to Gotham." These pieces are filled with energy and are almost kinetic with movement. As one views the work, the din of taxis, trucks, sirens, vendors and people trying to occupy the same small spaces all combine and mix with the form and color to create a

symphony that is as pleasent to the eye as it is to the ear.....think

"Rhapsody in Blue."

-Tino Galluzzo

David Dunlop, "Bright Rain", Oil on Anodized Aluminum, 48x48"

David Dunlop, "Perspective Matrix", Oil on Anodized Aluminum, 40x60"

David Dunlop, "Down the East River", Oil on Anodized Aluminum, 36x36"

New York Times on David Dunlop's "Return to Gotham"

June 2nd 2013

New York Times - June 2nd 2013

Dunlop Looks Deeper Into Urban Life

Thu, 06/13/2013 - 10:59am

The Art Scene

By

Leon Graham

New York Strollers By David Dunlop

David Dunlop is a painter’s painter and a teacher of painting, so it is not surprising that his current show at The White Gallery, “Return to Gotham,” is both beautiful and a lesson in technique.

Dunlop left the city long ago for the Northwest Corner, where he painted landscapes. The city remained an occasional subject, mostly crowded Grand Central Terminal pictures, until his son, Max, also a painter, suggested they make art together. And specifically that they paint city scenes.

The results so pleased Dunlop that he began to paint the city on his own. Using anodized aluminum as his surface, usually in natural, but also in white or gold, Dunlop laid his color out in different directions with painterly strokes (the paint runs slightly on the hard metal surface) to achieve depth, perspective and even motion. Many of the pictures have a hazy, ghostly feel as if they exist in a dream: people are faceless blue/black shapes, buildings rise in unrealistic colors.

Dunlop is clearly fascinated by crowds, frequently in Times Square or theater Broadway. In several pictures phalanxes of human forms seem to be rushing away or marching toward us. Do they herd together for protection or something more ominous?

The three most dramatic pictures in the show are astonishing studies. In “NYC, Perspective Matrix,” bold burnt orange bands lie on top of an indistinct outer borough. They move vertically, angled inward before dissolving in the blue haze that lies before a distant Manhattan.

“NYC Down the East River” is a meticulous yet painterly vision of thousands and thousands of buildings — tall in distant Manhattan, low in Queens — bridges, water and islands. Sunlight brightens a swath of the painting, the rest is in blue shadow. “Eye on the East River” is an amazing picture looking at hazy, yellowish Queens from dense, brown and dark red Manhattan. Or that is what you see from a distance. Move closer and all you will see are thousands of vertical brush strokes. This is a classroom lessonin itself.

Then there is an anomaly. Two shapely, long-haired, blue-jeaned women are seen from the rear — yes, the shapely rear — seemingly in mid stride. Other pedestrians move toward us, faceless but distinct. The women are about to cross a street into a space crowded with traffic and people. A typical sunny day in Gotham. To see a David Dunlop image, go to .....

David Dunlop’s exhibition continues at The White Gallery through July 14. The gallery, located at 344 Main Street in Lakeville, CT, is open Thursday – Sunday, 11 a.m. to 4 p.m. Call 860-435-1029860-435-1029 or go to www.thewhitegalleryart.com.

David Dunlop at the White Gallery in Lakeville Connecticut

Published on June 7th, 2013 | by Carola Lott

Since moving to New York from St. Louis, where he was born, David Dunlop has depicted the New York scene. The artist, whose new paintings may be seen until July 14 at the White Gallery, has been best known for his serene landscapes of the New England countryside and, more recently, for his scenes of Grand Central Terminal.

Dunlop’s new work focuses on the “landscape” of New York City, particularly the area around Times Square. In these large, vividly colored paintings, he captures the noise, energy, flashing neon lights and excitement of this quintessential New York environment. Most of the works in the show are painted in oil on anodized aluminum, which enhances the reflections of light and rain on the streets.

In “Times Square Electric Cacophony,” the lower third of the picture is dark, making the figures of passersby walking down Broadway almost invisible. The upper part of the composition is alive with the brilliant, flashing neon lights of the marquees and signs.

Quite different are Dunlop’s two paintings of the East River, which recall the work of Yvonne Jacquette. “NYC Down the East River,” seen from the vantage point of a plane or helicopter, reduces the buildings, the streets and the river to abstract patterns that nonetheless capture a familiar and essential part of the city.

For some time Dunlop has been collaborating with his son, Max, also an artist. Together they have created a PBS series, “Landscape through Time with David Dunlop.” Their next project will take them to Venice to investigate “how past masters have painted the city.”

It didn’t win an award, but Esperanza Quiroz’ “The Flying Bird Keeper” (made of packing tape), above, seemed to be heading for Joel Schapira, who was looking at the entries in the annual Blue and Gold at the White show of art from students at Housatonic Valley Regional High School. Photo by Patrick L. Sullivan

LAKEVILLE — Gina DiGiacomo’s mixed media work, “Thanatopsis,” won best in show at the Blue and Gold at the White show of Housatonic Valley Regional High School student art at the White Gallery in Lakeville.

Hillary Henrici’s “Footsie” was the runner-up, and Charlie MacDavid and Liam Neisen won best in the three-dimensional category.

In photography, Maggie Bristow’s “Wonderstruck” was the first-prize winner, with Lydia Downs and Stephanie Lalvay getting first and second runner-up status respectively.

The Blue and Gold at the White show is an annual event of student art from Housatonic Valley Regional High School. This year, works will remain on display for more than a week; the show opened May 17 and closes May 26. The student works are for sale.

The White Gallery is at 344 Main St. in the Lakeville section of Salisbury.

Sometimes leftovers are better than the original meal. Certainly the art on view in The White Gallery’s Director’s Choice exhibition, a potpourri of paintings, photographs, textiles and even a bronze, allows viewers to concentrate on the various artists’ singularities, styles, strengths and weaknesses. As the show continues, other works may be rotated from the gallery’s inventory.Most instructive are two pictures by Robert Natkin, who died at his Connecticut home nearly three years ago at 79. Once a “bright young thing” among 1960s and ’70s abstractionists, Natkin fell into critical disfavor, abandoned New York City, and painted and fulminated from his country home. In “The Bed” and “Untitled” we see his strengths and weaknesses: His Impressionist instincts and technical skill are there, but there is simply too much going on — too much color, too much incident without a point of view. A White favorite, David Dunlop, is represented by “Electric Cacophony,” a busy painting of neon signs, tall buildings, rushing figures on a New York City street, presumably in Times Square. There is a nice Michael Quadland acrylic, “Silver,” and one of Betsy Podlatch’s vaguely Impressionist paintings, “Flower I.” Four Jane Filers show her flat fantasies: animals, birds, people, all drawn and painted without depth, almost like folk art. And there is a single piece from the recent terrific show of Kate Stiassni textiles. “For Every Road We Take” reminds me how much I want to see more of her work.Director’s Choice runs at The White Gallery through March 31.

Astonishing Craft and Color at The White Gallery

Thu, 12/20/2012

The Art Scene

By

Leon Graham

leong@lakevillejournal.com

Photo by Marsden Epworth

Quilts, those homey creations of rural and small-town American women in the 19th and much of the 20th centuries, sometimes — in the creative, talented hands of some quilters — rose to the level of great folk art. Now Kate Stiassni, former CBS employee and home designer, takes quilting techniques and applies a contemporary sensibility to make fine art wall textiles, some of which are on display at The White Gallery in Lakeville, CT.

Stiassni, who lives part time in Sharon, works in a studio attached to her home. There she may first sketch an idea or perhaps begin a “design wall,” where she tries various combinations of colors, fabrics and shapes. It’s a bit like solving a puzzle, but the puzzle is in her head and only she knows when she has found the correct solution.

All fabric is hand dyed, and stitching is by hand or machine. The quilts range from quite small to as big as 6x6 feet. The patterns and color combinations are often intricate, yet they most often seem entirely logical and right. These are abstract paintings in a way, based on landmarks, natural vistas, urban cityscapes. One large piece, “My Two TV’s,” even refers to her past work in television: Two old- fashioned, boxy TV sets on skinny legs stand side by side but at slight angles to each other. Concentric trapezoidal shapes laid on top of one another draw your eye into the piece to what you realize are two small, square screens.

“Urban Renewal” and “Urban Renewal II” are complicated pieces based on the city. “II” might be an abstract of a city grid map, while the other quilt is a wonderful abstract of jumbled city buildings and streets in brilliantly conceived layers. And yet “Opposites Attract,” a marvelous quilt inspired by the Connecticut landscape that resembles two ladders connected by a horizontal bridge, seems entirely urban to me.

For the most part Stiassni does not seek depth in her quilts. Even the layered pieces seem to remain largely two-dimensional. Yet occasionally, as in “Inside Out,” she fools the eye into seeing depth: Here bold, broad continuous bands of colors — white, yellow, purple, orange — start at the bottom of the piece and move together concentrically at right angles, like a ribbon, toward the small, deep center.

Three quilts were inspired by the Falls Village bridge, both structurally in shapes and lines, and in the meaning of “bridge” as a way across a barrier, of joining opposites. While I am not sure I get what Stiassni was thinking, I do get that these are among her strongest, most abstract work. The intriguing play of oranges and golds and even white in curves, lines and rectangles is terrific; and the fish-like shapes in the biggest piece, “Country Bridge,” seem in constant motion.

“Uncommon Threads,” the quilts of Kate Stiassni, continues at The White Gallery through Jan. 27. The gallery, which is at 344 Main St. in Lakeville, CT, has winter hours Thursday through Sunday, 11 a.m. to 4 p.m. Call 860-435-1029860-435-1029 or go to thewhitegallery@sbcglobal.net.

Last saturday's Avery Danziger lectureon "Seeking Permanence", The Harlem Valley / Wingdale Project. If you were not able to attened, we hope that you enjoy the artists recount of his methods and experience. Don't forget the show closes this weekend on Sunday, December 9th. Just copy and paste the link below into your web-browser address field.

Avery Danziger’s photographs of the defunct, deteriorating Harlem Valley Psychiatric Center in Wingdale, NY, are both gorgeous and ineffably sad. They record an institution rushing to destroy any record of itself and its sad purpose or of the sad patients it served. The hospital seems alive in its determined return to chaos.

The notion of order versus chaos, of man against nature, is powerful. Who of us, passing Wingdale by car or train, could fail to wonder at the massive, empty, frightening campus that once housed so many poor souls. We notice the broken windows, the graffiti, the rusting window frames that inexorably get worse and more frightening. And we may wonder what it looks like inside.

Danziger, fascinated by the place, got permission to photograph it. Interiors had become so toxic since the facility closed in 1994 that he had to wear a HazMat suit to work there. But in the midst of deterioration, clutter and abandonment, he found amazing beauty.

Danziger has an eye for detail both large and small, for composition and color and especially for light. Using a tripod and long exposures in natural light, he has produced images with incredible depth of field and color saturation. Every flake of paint or ceiling asbestos seems singular, meaningful. And the photographer’s feel for geometry yields interesting, often unexpected lines and angles.

Some of the pictures are as beautifully stolid as German pre-World War II paintings of machinery and factories. Images from the power plant are filled with wonderfully shaped turContinued from page 4

bines, furnaces and pipes of all sizes frequently seen against mustard yellow brick walls. In one, picture-high windows are reflected in garish, dangerous looking liquid on the floor. In another of huge rusty turbines, moss grows on the floor.

Danziger’s brilliance at noticing and capturing detail and interesting natural compositional features results in some intimate images — orange, yellow and white paper stapled to a notice board becomes a color block abstract painting; various colored and sized paint flecks on a kitchen wall are almost a collage, so carefully placed each seems.

You can feel the humanity in images of Smith Hall, with its sad, curved soda fountain and 14 mushroom-shaped stools, collapsing light fixtures that stand like sculptures and photo mural of autumn trees around a bucolic pond that has so far resisted decay.

Most affecting is the quiet, grayish photo of the Wingdale morgue with its eight refrigerator doors and the metal table large enough to hold a body. Suddenly you wonder about the patients who inhabited this place, whose sad possessions — a shirt, a suitcase — you’ve seen in other images. You wonder at the sad lives many had, at the visitors they never received, at their loneliness and despair.

This is a beautiful show, partly because Danziger has let his subject be itself and refrained, he says, from digital manipulation and interference. The pictures remind us of how rapidly the man-made can crumble and how piercing reminders of mental disease and its victims can be.

“Seeking Permanence,” photographs by Avery Danziger, will continue at The White Gallery through Dec. 2. The gallery, which is at 344 Main Street in Lakeville, CT, is open Thursday through Sunday, 11 a.m. to 4 p.m. Call 860-435-1029860-435-1029 or go to www.thewhitegalleryart.com.

Art Review: Avery Danziger photographs the Harlem Valley Psych Center

Published on November 15th, 2012 | by Carola Lott

SEEKING PERMANENCE: A Photo Essay of the Harlem Valley Psychiatric Center, by Avery Danziger, is on view at the White Gallery in Lakeville, Connecticut, until December 2.

For the past two years, Avery Danziger, clad in a hazmat suit and a mask, has been photographing the buildings at Harlem Valley, abandoned since the center closed in 1994. The buildings are scenes of desolation. Danziger, however, has transformed the corroding pipes, puddles of toxic liquids, and streaks of mold and rust into images of great beauty. His photographs of walls covered with peeling paint and plaster call to mind paintings by Clyfford Still.

Danziger took his first photographs when he was eight. After he tried to “sneak-a-peek” at his first roll of film before taking it to be developed, he was disappointed to find nothing there to see. After the film was developed and came out black, his father tried to explain the concept of a latent image. “I found it wondrously intriguing. There could be something essentially invisible and yet recorded on the film, and it couldn’t be seen unless acted upon,” he says.

Danziger, who lives in Sharon, often noticed the Harlem Valley buildings either from his car or the train. One day, out of curiosity, he put his camera on a monopod and stuck it in a window. What lay inside inspired this project, which will not be finished for another year. “This is just a peek,” he says.

Danziger “spends a great deal of time composing the image so I get to use the entire frame.” A tripod allows him to make long exposures using natural light to give great depth of field. For this exhibition Tino Galuzzo, owner of the White Gallery, has chosen 15 of Danziger’s photographs that he feels best reveal the character of the former center and give a sense of the historical importance of what was once home to 5,000 patients and a mainstay of the local economy. Most of the images can be read on two levels: as a realistic depiction of a particular scene and as an abstraction. All reveal Danziger’s fascination with what he calls “the chemistry of light.” Much of his work, he says, is an “examination of the physics of light.”

Danziger’s image of the former dining area in Smith Hall shows walls and ceiling disfigured by tatters of beige and green paint. Beams hang bent and askew; the floor is littered with debris.

The power plant housed massive machinery, each element of which is shown in perfect focus yet gives a sense of depth. The colors are subtle, mainly shades of brown, yellow and green. Details reveal the result of abandonment. Vines are beginning to creep through the broken windows. Moss and grass grow in ragged patches on the floor; rust is corroding the machines; piles of dirt are everywhere.

On another level the photograph is composed of abstract shapes. The rounded volumes of the machines play against the squares of light coming through the windows; the volumes stand in contrast to the lines of ladders, pipes and the shadows cast by the windowpanes.

The photographer’s sophisticated handling of color is especially evident in another image of the power plant, this one a study of steely blue pipes dappled with brown rust, accented with one bright-red pipe fitting. It is one of the more abstract images in the show—in essence a study of shapes, lines and textures.

Among the other photographs I admired is one of a brick storeroom, essentially a geometric study of squares and rectangles and the triangular shadow of light coming from outside. A door in the brick wall opens onto a yellow wall with a red stripe along the floor.

Danziger has taken desolation and decay and found subjects for pictures that blend color, texture and shapes, placing them within the confines of a picture frame.

A book of 60 color digital images is available at the White Gallery. Avery Danziger will give book signing and lecture at the White Gallery on Saturday, November 20 at 10:00 a.m.

Susan Ferrari Rowley’s sculpture is about opposites and paradoxes: yielding and unyielding materials, volume and its absence, light and shadow. Pieces seem almost weightless, fragile; yet they occupy large spaces. They are difficult at first, peculiar, almost too simple. But quickly you discover their complexity: What is absent is as important as what is there in Rowley’s glowing pieces.Rowley uses quite different materials and techniques to make Continued from her art. She welds frames just sufficient for each piece from brushed aluminum. Then she hand sews white polyfiber and stretches it taut on the prepared frames. Results are always graceful and shapes either closed or open, with interiors as important as exteriors. Pieces can be for a room or so large they can only be placed outdoors.In her first show at The White Gallery, Rowley and gallery co-owner Tino Galluzzo have chosen only five pieces, but they represent major themes and aspects in her work. Two small residential pieces sit atop their own bases. Light from within each base rises through serpentine cutouts to light the fabric of the sculptures. “Beguiling” is a single sail-shape that resembles one of the peaks of the famous Sydney Opera House. It seems to change volume and color as light changes from natural to artificial. “Compounded,” also a single piece of cloth, undulates like a ribbon and somehow resembles one of Christo’s gates in Central Park.“How Deep,” which would work in larger indoor spaces, is made like a tall, open book, so that inside volume is as important as outside surface. “Precarious” is made of two fabric objects that resemble halves of a long cylinder. They rest near the bottom of a metal frame that bisects the halves and rises on a diagonal to meet the wall. It calls attention to its own geometry, the juxtaposition of materials and the possibility that it might collapse.Also at the White, Rowley is introducing her new line of sculptural bracelets. These are trapezoids made of aluminum and stainless steel with holes in the center for medium and large women’s hands. They are quite heavy, and the holes are really small, but they are singular enough that the strangely dressed, avant garde fashionistas Bill Cunningham photographs for The New York Times might wear them. Both the bracelets and sculptures will be part of a larger show opening in December at the famous OK Harris Gallery in New York City.

Susan Ferrari Rowley at the White Gallery

Published on October 24th, 2012 | by Carola Lott

Susan Ferrari Rowley’s work at the White Gallery. Photos by Carola Lott.

“Simple Lines” anexhibition of Susan Ferrari Rowley’swork at the White Galleryin Lakeville is both serene and highly dramatic. Although each piece is made of white translucent polyfiber hand stitched onto brushed aluminum frames, the works are all quite different. Some are cantilevered and suspended in space while others seem to float above their pedestals. The empty spaces are a vital part of each work, just as the invisible wind that fills a sail (which several of the pieces resemble) is what allows a boat to move through the water.

Contrast is an important part of each piece – contrast between straight and curved lines of the frames as well as between convex and concave forms of the fabric. Volumes are elusive. Interiors are as important as exteriors.

Although the pieces have volume, they seem weightless as if they could fly away at any moment. Some soar upwards, one hovers just above the floor, while two that stand solidly on the floor give the illusion of instability.

Light also defines these works. As it changes from hour to hour so too do they seem to shift in appearance. At night they take on another meaning all together.

Part of the exhibition is the premiere of “Angular Extremes” Ferrari Rowley’s limited edition bracelets. As she says of these small scale sculptures, “I am a believer that all products we use should be well designed and expressive, so these bracelets are big, bold and all about form.”

They make a dramatic statement, and like her larger pieces are defined by their contrasting curved and straight lines. When they are not being worn they make an arresting table decoration.

Bracelets by Susan Ferrari Rowley.

Landscapes at the White Gallery

Published on July 18th, 2012 | by Allison Silvieus

Victor Leger's "Rocky Rapids" oil on panel

Landscapes, Landscapes, Landscapes opened last weekend at the White Gallery in Lakeville, CT. The gallery has moved back to the building that was once its storage space, now nicely renovated as gallery space.

Victor Leger’s inspiration, according to the exhibition guide, comes from the “thrill of thoroughly studying how to paint the light cascading across a hay field, or changing from moment to moment on the ripples of a lake.” A large percentage of his paintings are plein-air. As a style he contrasts aerial perspective to small details. He received a BFA from San Francisco Art Institute and lives and works in Litchfield County. He is a member of the International Guild of Realism.

Leger’s Rocky Rapids amazes for its detail. He works on panel, not canvas. His technique is to use a varnish, giving a glossy finish. His captures every hue of light that bounces off a river. He works light that makes his painting a re-presentation of nature. His piece is full of life and energy.

Carolyn Edlund intends the stillness of her scenes “to bring to mind times long past and the luminosity to suggest a light enchantment.” Her goal is intimacy with the viewer. While her work is realistic, it has a more romantic feel. Her serene moments conjure memories. Edlund has been published in America Artist, Island Living (UK) and has been in exhibitions at the Salmagundi Club (NYC) and the Bienniale Internazionale Dell’Arte Contemporanea in Florence.

Carolyn Edlund’s Reverie by Moonlight is captivating and romantic as the moon shows through the clouds over water. Her sky is illuminated by the moon, creating a tranquil eerie silver-blueness.

David Dunlop’s paintings transcend the ephemeral. His style is post-Impressionistic. He attended Wooster College in Ohio. He studied at the Arts Students League, simultaneously attending Union Theological Seminary. He received his MFA from Pratt Institute.

Edlund’s more modern compositions have a hint of the abstract. His piece Reflections in June, oil on aluminum, captured the reflections in water. His piece is fragmented with quick brush strokes and attention to color. Reflecting Pool focuses on a river pool. His blues and greens bring out the depth of the water.The three artists all portray the awesomeness found in nature.

NEWS

2012

The White Gallery "Celebrates the Arts" at the Sharon Playhouse with an exhibition of Arbit Blatas prints of "The Threepenny Opera."

Read some published articles on some of our magnificent artists!

Blue & Gold at The White celebrate May 18 -20. The 8th annual art show for the Housatonic Valley Regional High School Art Program was another great success. "The work was amazing," said Tino Galluzzo, co-director & curator at The White Gallery. Here's a look back at some of the great art!

The White Gallery 2012 summer season opened in April with MICHAEL QUADLAND "PAINTINGS". It included a May 5th book signing for Quadland's second novel, "Offspring". Paintings got a great review in the Lakeville Journal's "Art Scene" from Leon Graham. "MAKING ART, ALL KINDS OF ART" [read it here] . A look back at the show: